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Dispy, that thing WAS creepy! Although I thought I ran everyone off with Valerie June's "Shotgun." I liked it though, so *there*.Good to see you all, Richard, Wayne, Griffin, Ragdoll, and timmy.. Me and Recaredo were all by ourselves, and I certainly need guidance. Thanks for the complement on my recital piece, btw, Recaredo!

Ok, I have things:

I've been loving this..

I've also found this amusing, and I don't normally watch cute-baby-thing videos. But she makes the most awesome faces when she sings Elvis, and I love her random outbursts of affection. Let her get past the 80 "Daddy!!" outbursts, and about a minute in, she sings. And at about 2:25, she bangs her head to Glory, Glory Hallelujah.. classic!

Greetings everyone! Aimee, you were right about needing at least two months past the retirement date to begin getting used to new things. Most retirees are telling me it takes about a year. I'm inclined to agree with the one-year estimate.

I still don't have much time for music postings. However, I have this short offering today. I used to listen to it in my car while driving to work. I've missed hearing it lately and thought I'd share it with my friends here at RST.

Here is "Sei Lob und Preis mit Ehren" by J.S. Bach. It is performed by cellist Yo-Yo Ma and the Amsterdam Baroque Orchestra. Ton Koopman is the Conductor.

Pretty good, Richard, and you?Valencia - Hugh Laurie is pretty durn talented. PBS had a documentary about his album, Let Them Talk, with performances that took place down here with some of the local musicians. I think it's on YouTube if anyone's interested.

Progressing nicely, Aimee, thank you. Recently given a clear result from a biopsy and with the themed recital out of the way have returned to more normal practising. Still not caught up with the listening, though. The last four Grieg books aren't as familiar to me as the first six and I had things to do over the weekend that kept me away from the PC.

I've still only half finished my comments on the last ABF Recital though I've listened a good few times. The Grieg really took it out of me; it didn't feel like it at the time.

Here's the late, great Luke Kelly.

Phil Coulter's first child was born with Down's Syndrome and he wrote this song about it. Luke, aware of its personal nature, always sang it with touching emotion.

I have to capo up at fret 5 to sing this (singing down 7) but it's great for showing off my pick work, both arpeggio picking and Townshend style rapid strumming later in the song and it always goes down well in company.

Locals in an Italian village believe evil has taken over the estate of a recently deceased pianist where several murders have taken place. The alleged killer: the pianist's severed hand.

This one could have been a minor classic but got butchered by the studio in the editing room. Since the script is mediocre, and the actors, aside from Peter Lorre, not at their best, the movie is quite a letdown, but for two things: excellent special effects of a disembodied hand running around and committing mayhem; and Peter Lorre's bulging eyed performance as a deranged bookworm-astrologer with a, well, disembodied hand fixation.

Director Robert Florey tries his best with the material, but fails to create the right pace and feeling for the film. Since Florey and Lorre were both highly gifted men, this is all the more frustrating, as there are flashes of real brilliance in the film for all that is wrong with it. All this goes to show that a good horror movie, like any other kind, has to be built from the ground up. I sense that Florey was so intrigued by the idea of a horror based on a the image of a severed hand that he forgot to make the rest of the movie work. This won't do. Frankenstein isn't just about its set pieces,--the lightning storm, the murders, the burning windmill--it's a story rooted in a time, a place and a community, that concerns credible characters behaving in ways that make sense (even if one doesn't subscribe to their values or care for their motivations). Dracula, similarly, has a certain sweep, beginning in the remote Carpathians of central Europe, then moving to England, as we get a sense of how Dracula stalks his prey, the way he treats people, and why. The Beast With Five Fingers strains credibility from the outset, then goes swiftly downhill.

One waits for the big scenes, which do not disappoint, but the story overall is poorly developed, and there's no one to care for or identify with. The movie is an interesting experiment, and worth watching once, yet never lives up to its promise, and is a terrible waste of its brilliant star, who's in very good form throughout